Hip-Hop Artists
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An Autoethnography of Scottish Hip-Hop: Identity, Locality, Outsiderdom and Social Commentary
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Napier An autoethnography of Scottish hip-hop: identity, locality, outsiderdom and social commentary Dave Hook A thesis submitted in partial fulfilment of the requirements of Edinburgh Napier University, for the award of Doctor of Philosophy June 2018 Declaration This critical appraisal is the result of my own work and includes nothing that is the outcome of work done in collaboration except where specifically indicated in the text. It has not been previously submitted, in part or whole, to any university or institution for any degree, diploma, or other qualification. Signed:_________________________________________________________ Date:______5th June 2018 ________________________________________ Dave Hook BA PGCert FHEA Edinburgh i Abstract The published works that form the basis of this PhD are a selection of hip-hop songs written over a period of six years between 2010 and 2015. The lyrics for these pieces are all written by the author and performed with hip-hop group Stanley Odd. The songs have been recorded and commercially released by a number of independent record labels (Circular Records, Handsome Tramp Records and A Modern Way Recordings) with worldwide digital distribution licensed to Fine Tunes, and physical sales through Proper Music Distribution. Considering the poetics of Scottish hip-hop, the accompanying critical reflection is an autoethnographic study, focused on rap lyricism, identity and performance. The significance of the writing lies in how the pieces collectively explore notions of identity, ‘outsiderdom’, politics and society in a Scottish context. Further to this, the pieces are noteworthy in their interpretation of US hip-hop frameworks and structures, adapted and reworked through Scottish culture, dialect and perspective. -
Balade Dans La Galaxie Beastie Boys » OWNI, News, Augmented
BALADE DANS LA GALAXIE BEASTIE BOYS LE 11 MAI 2011 GWEN BOUL Le 2 mai, le très attendu nouvel album des Beastie Boys, "Hot Sauce Comittee pt.2" est sorti. Pour l'occasion, nous vous proposons de replonger dans la galaxie du trio New Yorkais. Hot Sauce Committee part 2, le nouvel album des Beastie Boys, est enfin sorti. Le groupe avait plusieurs fois reporté la sortie de l’album. Après une sortie déjà décalée en 2009 pour cause de Crabe qui s’invitait dans la gorge d’Adam Yauch, alias MCA, le groupe refaisait le coup en 2010. « Pas avant 2011 les amis ! ». Promesse finalement tenue avec un disque qui réjouit les fans. C’est l’occasion pour OWNImusic de republier la petite balade dans la galaxie Beastie Boys, balade guidée par Gwen de Centrifugue. Un univers gigantesque, aux astres multiples et empli d’univers parallèles. Décollage. Les grands champs gravitationnels Débutons notre périple cosmique par ceux qui ont modelé cette galaxie : les inspirateurs et les producteurs. LEE SCRATCH PERRY Le producteur incontournable dans l’histoire du reagge et du dub. Celui-ci fit une apparition remarquée sur Hello Nasty avec le morceau Dr Lee PhD . Une association débutée lors d’une première partie des Beastie assurée par Lee Perry, à l’occasion d’une tournée au Japon en 1996. Mais l’influence est plus ancienne et remonte à l’EP Cooky Puss en 1983, qui comportait les morceaux dub-reggae Beastie Revolution et Bonus Batter Edit : et l’on retrouve également un sample de Dub Revolution sur Ill Communication. -
3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
“3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums. -
YASIIN BEY Formerly Known As “Mos Def”
The Apollo Theater and the Kennedy Center Present Final U.S. Performances for Hip-Hop Legend YASIIN BEY Formerly Known as “Mos Def” The Apollo Theater Tuesday, December 21st, 2016 The Kennedy Center New Year’s Eve Celebration at the Kennedy Center Concert Hall Saturday, December 31st, 2016 – Monday, January 2, 2017 (Harlem, NY) – The Apollo Theater and The John F. Kennedy Center for the Performing Arts announced today that they will present the final U.S. performances of one of hip hop’s most influential artists - Yasiin Bey (formerly known as Mos Def). These special engagements follow Bey’s announcement earlier this year of his retirement from the music business and will kick-off at the Apollo Theater on Tuesday, December 21st, culminating at The Kennedy Center from Saturday, December 31st through Sunday, January 2, 2017. Every show will offer a unique musical experience for audiences with Bey performing songs from a different album each night including The New Danger, True Magic, The Ecstatic, and Black on Both Sides, alongside new material. He will also be joined by surprise special guests for each performance. Additionally, The Kennedy Center shows will serve as a New Years Eve celebration and will feature a post-show party in the Grand Foyer. Yasin Bey has appeared at both the Apollo Theater and Kennedy Center multiple times throughout his career. “We are so excited to collaborate with the Kennedy Center on what will be a milestone moment in not only hip-hop history but also in popular culture. The Apollo is the epicenter of African American culture and has always been a nurturer and supporter of innovation and artistic brilliance, so it is only fitting that Yasiin Bey have his final U.S. -
Concerto for Turntables and Orchestra Gabriel Prokofiev Teacher Pages
SECONDARY 10 PIECES PLUS! CONCERTO FOR TURNTABLES AND ORCHESTRA (5th MOVEMENT) by GABRIEL PROKOFIEV TEACHER PAGES CONCERTO FOR TURNTABLES AND ORCHESTRA (5TH MOVEMENT) BY GABRIEL PROKOFIEV http://www.bbc.co.uk/programmes/p038md89 CONTEXT Gabriel Prokofiev is the grandson of Sergei Prokofiev, the famous Russian composer and contemporary of Shostakovich. Gabriel is a musician who has been involved in hip hop, dance, electro, grime, scratching and turntablism. He has become interested in the fusion of different styles of music and decided to write a Concerto for Turntables and Orchestra where sounds created by the orchestra could be combined with turntable techniques. Turntablism comes from the 1970’s Hip Hop style. The records on the turntables are scratched rhythmically, responding to the music being played: this technique is used in the Prokofiev concerto. The DJ manipulates the sounds on the vinyl records changing tonal and rhythmic patterns. The records used in the piece contain music samples of orchestral phrases. A concerto is an orchestral piece of music which features a soloist, or small group of soloists who are virtuoso performers. The soloist usually has the main ideas and maintains a dialogue with the orchestra throughout the music. As with any instrumentalist, the DJ requires plenty of practice to become skilful in the technique of manipulating sounds. The concerto usually contains a ‘cadenza’, which is a passage where the soloist can show off his or her skills. Concerto for Turntables and Orchestra was written in 2006 and was -
EDUCATOR GUIDE Story Theme: Playing with Technology
EDUCATOR GUIDE Story Theme: Playing with Technology Subject: Walter Kitundu Discipline: Music SECTION I - OVERVIEW ................................................................................................... 2 EPISODE THEME SUBJECT CURRICULUM CONNECTIONS OBJECTIVE STORY SYNOPSIS INSTRUCTIONAL STRATEGIES INSTRUCTIONAL OBJECTIVES EQUIPMENT NEEDED MATERIALS NEEDED INTELLIGENCES ADDRESSED SECTION II – CONTENT/CONTEXT ................................................................................. 3 CONTENT OVERVIEW THE BIG PICTURE RESOURCES – TEXTS RESOURCES – WEB SITES VIDEO RESOURCES BAY AREA FIELD TRIPS SECTION III – VOCABULARY ........................................................................................... 6 SECTION IV – ENGAGING WITH SPARK ........................................................................ 7 Still image from SPARK story, 2006. SPARK Educator Guide – Walter Kitundu 1 SECTION I - OVERVIEW EPISODE THEME INSTRUCTIONAL OBJECTIVES Playing with Technology • To introduce students to instrument invention through the art of Walter Kitundu SUBJECT • To provide context for the understanding of the Walter Kitundu phonographic turntable and other instruments • To inspire students to listen critically to GRADE RANGES experimental instruments and contemporary K‐12 & Post‐secondary musical compositions CURRICULUM CONNECTIONS EQUIPMENT NEEDED Visual Arts & Language Arts • SPARK story about Walter Kitundu on DVD or VHS and related equipment, or a computer with OBJECTIVE Internet access, navigation software, video -
Yasiin Bey Formerly Known As “Mos Def”
**ANNOUNCEMENT** The Apollo Theater Announces a Second Show For yasiin bey Formerly Known as “Mos Def” Performances Are Among the Legendary Emcee’s Final US Shows The Apollo Theater Additional Date: Thursday, December 22nd, 2016 (Harlem, NY) – Due to popular demand, the Apollo Theater announced today that it has added a second show on Thursday, December 22nd for yasiin bey (formerly known as Mos Def), one of hip hop’s most influential artists. These special engagements follow bey’s announcement earlier this year of his retirement from the music business and will kick-off at the Apollo Theater on Wednesday, December 21st. Every show will offer a unique musical experience for audiences with bey performing songs from a different album each night including The New Danger, True Magic, The Ecstatic, and Black on Both Sides, alongside new material. He will also be joined by surprise special guests for each performance. Yasiin bey has appeared at the Apollo Theater multiple times throughout his career. Following his final U.S. performances, bey will venture to Africa to focus on his arts, culture, and lifestyle collective A Country Called Earth (ACCE). He will also continue to pursue his newly formed passions as a painter and his art, as well as that of various other ACCE artists, will be anonymously displayed at the Apollo Theater and the Kennedy Center. TICKET INFORMATION Tickets for the second show of yasiin bey at the Apollo go on sale to the public on Thursday, December 15th at 12 Noon. An online ticket pre-sale will be offered to the Apollo’s “A-list” email list beginning Wednesday, December 14th at 12 Noon. -
The Evolution of Commercial Rap Music Maurice L
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research. -
ESSAY/ANALYSIS Hip-Hop, Social Justice, and Environmental Education
THE JOURNAL OF ENVIRONMENTAL EDUCATION, 43(3), 192–203, 2012 Copyright C Taylor & Francis Group, LLC ISSN: 0095-8964 print/1940–1892 online DOI: 10.1080/00958964.2011.633579 ESSAY/ANALYSIS Hip-Hop, Social Justice, and Environmental Education: Toward a Critical Ecological Literacy Michael J. Cermak Boston College, Chestnut Hill, Massachusetts, USA This essay describes an educational initiative that used environmentally themed (green) hip-hop to stimulate learning in an environmental science classroom. Students were then challenged to compose their own green hip-hop and their lyrics demonstrated skills that have thematic consistency around what is called a Critical Ecological Literacy (CEL). An analysis of more than 200 creative pieces collected from eight runs of this curriculum over four years shows that CEL can be used as a guiding concept for the creation of curriculum targeting urban areas and racially diverse learners. Several examples of this student-produced green hip-hop are shared to delineate elements of CEL that can help educators evaluate student learning as well as their own teaching materials. Keywords critical literacy, environmental education, hip-hop, nature, rap New World Water make the tide rise high, Come inland and make your house go “Bye” Fools done upset the Old Man River, Made him carry slave ships and fed him dead nigga Downloaded by [205.204.248.88] at 13:13 05 November 2014 —Mos Def, New World Water, 1999 When I first heard Mos Def’s rap, it expanded my notion of how water moves through our environment. In his song “New World Water,” he presents the world’s fresh water crisis, weaving together themes of ecology and racial injustice. -
Hip Hop As Oral Literature Patrick M
Bates College SCARAB Honors Theses Capstone Projects Spring 5-2016 "That's the Way We Flow": Hip Hop as Oral Literature Patrick M. Smith Bates College, [email protected] Follow this and additional works at: http://scarab.bates.edu/honorstheses Recommended Citation Smith, Patrick M., ""That's the Way We Flow": Hip Hop as Oral Literature" (2016). Honors Theses. 177. http://scarab.bates.edu/honorstheses/177 This Open Access is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. “That’s the Way We Flow”: Hip Hop as Oral Literature An Honor Thesis Presented to The Faculty of the Program of African American Studies Bates College in partial fulfillment of the requirements for the Degree of Bachelor of Arts by Patrick Miller Smith Lewiston, Maine 3/28/16 2 Acknowledgments I would like to thank all of my Bates Professors for all of their help during my career at Bates College. Specifically, I would like to thank my thesis advisor, Professor Sue Houchins, for all her hard work, helping me wrestle with this thesis, and for being a source of friendship and guidance since I first met her. Professor Nero, I would also like to send a big thank you to you, you have inspired me countless times and have pushed me since day one. Professors Rubin, Chapman, Jensen, and Carnegie, thank you all very much, each of you helped me on my way to this point and I am very grateful for your guidance. -
Beastie Boys Hello Nasty : Instrumentals Mp3, Flac, Wma
Beastie Boys Hello Nasty : Instrumentals mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Hello Nasty : Instrumentals Country: Europe Released: 2006 Style: Instrumental, Cut-up/DJ MP3 version RAR size: 1901 mb FLAC version RAR size: 1213 mb WMA version RAR size: 1794 mb Rating: 4.8 Votes: 230 Other Formats: AIFF MPC DMF MP1 MP3 VOC AIFF Tracklist A1 Super Disco Breakin' (aka Monster) A2 The Move A3 Just A Test (aka Nice Nice) A4 Body Movin' (aka Party Movin') B1 Intergalactic (aka another Dimension) B2 Piano Joint w/ vocal effects B3 Flowin' Prose (aka Tribsman w/ vocals effects) C1 Three MC's And One DJ $ (aka Freestyle) C2 Can't Won't Don't Stop (Iced Coffee) new version C3 The Negotiation Limerick File (aka Pucho) D1 Electrify D2 Unite (Instrumental w/ Unite vocal) D3 Bonus Beats Credits Producer – Beastie Boys, Mario Caldato Jr. Scratches – Mix Master Mike Other versions Category Artist Title (Format) Label Category Country Year Hello Nasty: Instrumentals Not On Label BB-SV-6 Beastie Boys BB-SV-6 US 2003 (CD, Unofficial) (Beastie Boys) Hello Nasty: Instrumentals Not On Label BB-SV-6 Beastie Boys BB-SV-6 US 2003 (LP, Unofficial) (Beastie Boys) Hello Nasty (2xLP, Unofficial, GR062LP Beastie Boys Grand Royal GR062LP US 2006 Ins) Related Music albums to Hello Nasty : Instrumentals by Beastie Boys Beastie Boys - The Sounds Of Science Video Sampler Beastie Boys - Def Before Dishonor Beastie Boys - Hello Nasty: Instrumentals Beastie Boys - Beastie Boys Anthology - Beastie Boy Bisque Beastie Boys - Hello Nasty Beastie Boys - "Pass The Mic" Beastie Boys - Beastie Boys Edition Beastie Boys - Sabotage / Get It Together Beastie Boys - Anthology: The Sounds Of Science Beastie Boys -. -
Yasiin Bey Would Like You to Quit Calling Him Mos
9/24/2020 Yasiin Bey Would Like You To Quit Calling Him Mos Def — The Awl ยท Yasiin Bey Would Like You To Quit Calling Him Mos Def by Scott Korb https://www.youtube.com/watch?v=hmoIJQWPg9w At a performance last August, the deliberate and sharply dressed emcee, who is also well known as an actor, announced his “official transition” to a huge audience gathered in the parking lot of a popular pub and pizzeria in Anchorage, Alaska: “My professional name will be my chosen and my legal name, which is Yasiin Bey. … And I don’t want to have to wait for it to be in Source or Vibe or someplace. I figure, we’re all here. We can see each other.” And then he spelled it out for them: “Y-A-S-I-I-N, first name. Last name: B-E-Y.” When a few Alaskans made some disapproving noises, Bey responded, “I understand. I understand.” Cradling his signature bright red, vintage-style microphone, he then tried to make it clear he knew exactly what, and exactly whom, he was giving up. “No one has a more close relationship to Mos Def than me. I know that guy. Really good.” To be fair, Bey’s mother, Sheron Smith, who manages a good portion of his career and whom even I, a reporter with no relationship to the family, call Umi, still mostly refers to her son by the name she gave him: Dante. So does the emcee Talib Kweli. “I refer to Mos Def as Dante, or ‘D,’’’ he recently told me.